Ruth | Wilton's Music Hall

A single word, Ruth, is delicately penned across the back of the stage; a simple gesture that feels more like a statement than a title. Set against the beautifully alluring backdrop of the Wilton’s Music Hall, Ruth the musical sets to tell the story of Ruth Ellis, the last woman to be executed in Britain in 1955, at the tragic age of 28.

The piece begins as the ensemble storm to stage, stating that we are soon to learn the truth about Ruth with their opening number. The audience quickly learns that this story comprises of three Ruths, with the first that is introduced being played by the remarkable Bibi Simpson. We see Ruth, draped in her dapper dressing gown, take her place in her cell, where the twenty one hour wait until the moment of her execution begins.

Simpson’s Ruth stays positioned in her cell throughout the show, which this reviewer deemed to be a particularly effective use of split-staging. Simpson’s portrayal felt honest and heavy with affliction, and was assisted beautifully with her astounding vocals. Ruth begins unfolding her story from her cell, as she recounts the days of her childhood spent with her abusive father, with young Ruth being played by Me-Li Yap. Flashbacks to Ruth’s childhood is used intermittently throughout the show, as a consistent reminder of Ruth’s harrowing past and constant mistreatment by men. The story then shifts into the bustling private members club, where we meet the third and final Ruth working a shift at the club, who is played by the compelling Hannah Traylen. Traylen’s performance was gracefully sincere, and very successfully demonstrated Ruth’s sharp-tongued and gutsy character.

The use of flashbacks created a strong base for the trajectory of the piece, and meant we could follow Ruth within three separate timelines, which was a very successful principle. Documentary footage of news clips and headlines were frequently projected onto the back wall of the stage throughout the show, reminding the audience that this is a true story, and thus bringing the moral message of the show into sharp-focus. The lighting, designed by David Howe, was a superb aid to the turbulent drama, as we journeyed between the dark and dingy cell and the bright and titillating club.

As well as the gripping performances from the women of the piece, we also saw some forceful performances from actors such as Connor Payne as David Blakely, John Faal as Desmond and Ian Puleston-Davies as Ruth’s hangman. Payne’s portryal of David, who is Ruth’s violent lover, was rooted and sinister, but this reviewer felt that the character of David was written with an absence of emotional complexity and felt almost two dimensional in disposition. This lack of character development made it challenging to truly buy into Payne’s portrayal. In contrast to this, Puleston-Davies’ character, Albert Pierrepoint, felt comprehensive and well-rounded in his development. The polarities within Albert were clear, as he fought between his regretful past and the opportunity to make a positive change in his future.

The piece brilliantly highlights the injustices of Ruth’s fate, with themes of class divide and gender bias embedded within the emotive score and evocative staging. The audience is consistently reminded of Ruth’s constant battle against the abuse and mistreatment of the men her in life, from her dad, to David, to the barristers and judge within the courtroom. The very same men who decided Ruth’s fate were the men who were regular customers in the club that Ruth worked for. This show didn’t try to over-dramatise Ruth’s death, but instead left the audience within deep reflection. The piece concluded with a photo of Ruth displayed against the back wall of the stage, as we are left to reflect upon Ruth’s life, and the society that failed her.

Ruth plays at Wilton's Music Hall until 28th March 2026 - tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Charlie Flint